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Bitstream Fonts in May 2005 at Totaling 350 Font Families with a Total of 1357 Font Styles
Bitstream Fonts in May 2005 at http://www.myfonts.com/fonts/bitstream totaling 350 font families with a total of 1357 font styles The former Bitstream typeface libraries consisted mainly of forgeries of Linotype fonts and of ITC fonts. See the list below on the pages 24–29 about the old Bitstream Typeface Library of 1992. The 2005 Bitstream typeface library contains the same forgeries of Linotype fonts as formerly and also the same ITC fonts, but it also includes a lot of new mediocre „rubbish fonts“ (e.g. „Alphabet Soup“, „Arkeo“, „Big Limbo“), but also a few new quality fonts (e.g. „Drescher Grotesk“, „Prima Serif“ etc.). On the other hand, a few old fonts (e.g. „Caxton“) were removed. See the list below on pages 1–23. The typeface collection of CorelDraw comprises almost the entire former old Bitstream typeface library (see the list below on pages 24–29) with the following exceptions: 1. A few (ca. 3) forgeries of Linotype fonts are missing in the CorelDraw font collections, e.g. the fonts „Baskerville No. 2“ (= Linotype Baskerville No. 2), „Italian Garamond“ (= Linotype Garamond Simoncini), and „Revival 555“ (= Linotype Horley Old Style). 2. A lot (ca. 11) of ITC fonts are not contained in the CorelDraw font collections, e.g. „ITC Berkeley Oldstyle“, „ITC Century“, „ITC Clearface“, „ITC Isbell“, „ITC Italia“, „ITC Modern No. 216“, „ITC Ronda“, „ITC Serif Gothic“, „ITC Tom’s Roman“, „ITC Zapf Book“, and „ITC Zapf International“. Ulrich Stiehl, Heidelberg 3-May 2005 Aachen – 2 styles Ad Lib™ – 1 styles Aerospace Pi – 1 styles Aldine -
Surviving the TEX Font Encoding Mess Understanding The
Surviving the TEX font encoding mess Understanding the world of TEX fonts and mastering the basics of fontinst Ulrik Vieth Taco Hoekwater · EuroT X ’99 Heidelberg E · FAMOUS QUOTE: English is useful because it is a mess. Since English is a mess, it maps well onto the problem space, which is also a mess, which we call reality. Similary, Perl was designed to be a mess, though in the nicests of all possible ways. | LARRY WALL COROLLARY: TEX fonts are mess, as they are a product of reality. Similary, fontinst is a mess, not necessarily by design, but because it has to cope with the mess we call reality. Contents I Overview of TEX font technology II Installation TEX fonts with fontinst III Overview of math fonts EuroT X ’99 Heidelberg 24. September 1999 3 E · · I Overview of TEX font technology What is a font? What is a virtual font? • Font file formats and conversion utilities • Font attributes and classifications • Font selection schemes • Font naming schemes • Font encodings • What’s in a standard font? What’s in an expert font? • Font installation considerations • Why the need for reencoding? • Which raw font encoding to use? • What’s needed to set up fonts for use with T X? • E EuroT X ’99 Heidelberg 24. September 1999 4 E · · What is a font? in technical terms: • – fonts have many different representations depending on the point of view – TEX typesetter: fonts metrics (TFM) and nothing else – DVI driver: virtual fonts (VF), bitmaps fonts(PK), outline fonts (PFA/PFB or TTF) – PostScript: Type 1 (outlines), Type 3 (anything), Type 42 fonts (embedded TTF) in general terms: • – fonts are collections of glyphs (characters, symbols) of a particular design – fonts are organized into families, series and individual shapes – glyphs may be accessed either by character code or by symbolic names – encoding of glyphs may be fixed or controllable by encoding vectors font information consists of: • – metric information (glyph metrics and global parameters) – some representation of glyph shapes (bitmaps or outlines) EuroT X ’99 Heidelberg 24. -
Zapfcoll Minikatalog.Indd
Largest compilation of typefaces from the designers Gudrun and Hermann Zapf. Most of the fonts include the Euro symbol. Licensed for 5 CPUs. 143 high quality typefaces in PS and/or TT format for Mac and PC. Colombine™ a Alcuin™ a Optima™ a Marconi™ a Zapf Chancery® a Aldus™ a Carmina™ a Palatino™ a Edison™ a Zapf International® a AMS Euler™ a Marcon™ a Medici Script™ a Shakespeare™ a Zapf International® a Melior™ a Aldus™ a Melior™ a a Melior™ Noris™ a Optima™ a Vario™ a Aldus™ a Aurelia™ a Zapf International® a Carmina™ a Shakespeare™ a Palatino™ a Aurelia™ a Melior™ a Zapf book® a Kompakt™ a Alcuin™ a Carmina™ a Sistina™ a Vario™ a Zapf Renaissance Antiqua® a Optima™ a AMS Euler™ a Colombine™ a Alcuin™ a Optima™ a Marconi™ a Shakespeare™ a Zapf Chancery® Aldus™ a Carmina™ a Palatino™ a Edison™ a Zapf international® a AMS Euler™ a Marconi™ a Medici Script™ a Shakespeare™ a Zapf international® a Aldus™ a Melior™ a Zapf Chancery® a Kompakt™ a Noris™ a Zapf International® a Car na™ a Zapf book® a Palatino™ a Optima™ Alcuin™ a Carmina™ a Sistina™ a Melior™ a Zapf Renaissance Antiqua® a Medici Script™ a Aldus™ a AMS Euler™ a Colombine™ a Vario™ a Alcuin™ a Marconi™ a Marconi™ a Carmina™ a Melior™ a Edison™ a Shakespeare™ a Zapf book® aZapf international® a Optima™ a Zapf International® a Carmina™ a Zapf Chancery® Noris™ a Optima™ a Zapf international® a Carmina™ a Sistina™ a Shakespeare™ a Palatino™ a a Kompakt™ a Aurelia™ a Melior™ a Zapf Renaissance Antiqua® Antiqua® a Optima™ a AMS Euler™ a Introduction Gudrun & Hermann Zapf Collection The Gudrun and Hermann Zapf Collection is a special edition for Macintosh and PC and the largest compilation of typefaces from the designers Gudrun and Hermann Zapf. -
Hermann Zapf Collection 1918-2019
Hermann Zapf Collection 1918-2019 53 boxes 1 rolled object Flat files Digital files The Hermann Zapf collection is a compilation of materials donated between 1983 and 2008. Processed by Nicole Pease Project Archivist 2019 RIT Cary Graphic Arts Collection Rochester Institute of Technology Rochester, New York 14623-0887 Finding Aid for the Hermann Zapf Collection, 1918-2019 Summary Information Title: Hermann Zapf collection Creator: Hermann Zapf Collection Number: CSC 135 Date: 1918-2019 (inclusive); 1940-2007 (bulk) Extent: Approx. 43 linear feet Language: Materials in this collection are in English and German. Abstract: Hermann Zapf was a German type designer, typographer, calligrapher, author, and professor. He influenced type design and modern typography, winning many awards and honors for his work. Of note is Zapf’s work with August Rosenberger, a prominent punchcutter who cut many of Zapf’s designs. Repository: RIT Cary Graphic Arts Collection, Rochester Institute of Technology Administrative Information Conditions Governing Use: This collection is open to researchers. Conditions Governing Access: Access to audio reels cannot be provided on site at this time; access inquiries should be made with the curator. Access to original chalk calligraphy is RESTRICTED due to the impermanence of the medium, but digital images are available. Access to lead plates and punches is at the discretion of the archivist and curator as they are fragile. Some of the digital files are restricted due to copyright law; digital files not labeled as restricted are available for access with permission from the curator or archivist. Custodial History: The Hermann Zapf collection is an artificial collection compiled from various donations. -
Suitcase Fusion 9 Getting Started Guide
Legal notices Copyright © 2014–2019 Celartem, Inc., doing business as Extensis. This document and the software described in it are copyrighted with all rights reserved. This document or the software described may not be copied, in whole or part, without the written consent of Extensis, except in the normal use of the software, or to make a backup copy of the software. This exception does not allow copies to be made for others. Licensed under U.S. patents issued and pending. Celartem, Extensis, MrSID, NetPublish, Portfolio Flow, Portfolio NetPublish, Portfolio Server, Suitcase Fusion, Type Server, TurboSync, TeamSync, and Universal Type Server are registered trademarks of Celartem, Inc. The Celartem logo, Extensis logos, Extensis Portfolio, Font Sense, Font Vault, FontLink, QuickFind, QuickMatch, QuickType, Suitcase, Suitcase Attaché, Universal Type, Universal Type Client, and Universal Type Core are trademarks of Celartem, Inc. Adobe, Acrobat, After Effects, Creative Cloud, Creative Suite, Illustrator, InCopy, InDesign, Photoshop, PostScript, and XMP are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. Apache Tika, Apache Tomcat and Tomcat are trademarks of the Apache Software Foundation. Apple, Bonjour, the Bonjour logo, Finder, iPhone, Mac, the Mac logo, Mac OS, OS X, Safari, and TrueType are trademarks of Apple Inc., registered in the U.S. and other countries. macOS is a trademark of Apple Inc. App Store is a service mark of Apple Inc. IOS is a trademark or registered trademark of Cisco in the U.S. and other countries and is used under license. Elasticsearch is a trademark of Elasticsearch BV, registered in the U.S. -
Phaser 5400 Laser Printer User Guide
PHASER™ 5400 LASER PRINTER User Guide Xerox Phaser™ 5400 Laser Printer User Guide 721P57660 September 2001 Copyright © 2001, Xerox Corporation. All Rights Reserved. Unpublished rights reserved under the copyright laws of the United States. Contents of this publication may not be reproduced in any form without permission of Xerox Corporation. Copyright protection claimed includes all forms of matters of copyrightable materials and information now allowed by statutory or judicial law or hereinafter granted, including without limitation, material generated from the software programs which are displayed on the screen such as styles, templates, icons, screen displays, looks, etc. Printed in the United States of America. Ethernet®, the stylized X, and XEROX® are registered trademarks of Xerox Corporation. Phaser™ and infoSMART™ are trademarks of Xerox Corporation. Adobe®, Acrobat®, Acrobat® Reader, Illustrator®, PageMaker®, Photoshop®, and PostScript®, ATM®, Adobe Garamond®, Birch®, Carta®, Mythos®, Quake®, and Tekton® are registered trademarks and Adobe Jenson™, Adobe Brilliant Screens™ technology, and IntelliSelect™ are trademarks of Adobe Systems Incorporated or its subsidiaries which may be registered in certain jurisdictions. Apple®, LaserWriter®, LocalTalk®, Macintosh®, Mac® OS, AppleTalk®, TrueType2®, Apple Chancery®, Chicago®, Geneva®, Monaco®, and New York® are registered trademarks, and QuickDraw™ is a trademark of Apple Computer Incorporated. Marigold™ and Oxford™ are trademarks of AlphaOmega Typography. Avery™ is a trademark of Avery Dennison Corporation. PCL® and HP-GL® are registered trademarks of Hewlett-Packard Corporation. Hoefler Text was designed by the Hoefler Type Foundry. ITC Avant Guard Gothic®, ITC Bookman®, ITC Lubalin Graph®, ITC Mona Lisa®, ITC Symbol®, ITC Zapf Chancery®, and ITC Zapf Dingbats® are registered trademarks of International Typeface Corporation. -
Alphabetgeschichten by Hermann Zapf
174 TUGboat, Volume 28 (2007), No. 2 Book Reviews Alphabet Stories by Hermann Zapf Hans Hagen & Taco Hoekwater Born on November 8, 1918, Hermann has grown up in and been a witness to turbulent times. The Ger- man version sheds more light on how difficult it was Hermann Zapf to survive in these times and how much art was lost in that period. He wrote down nice anecdotes about Introduction this era, for instance how the ability to write in 1 mm It pays off to be a Dante member! Some time ago script impressed his army superiors so much that it each member received a copy of Hermann Zapf’s kept him out of trouble. Both books have some dif- monograph ‘Alphabetgeschichten’, a gift from Her- ferences in the graphics that go with that period and mann himself. For many users of computers the in the English version some quotes are shortened. name ‘Zapf’ may ring a bell because of the om- The English book catches up on its last pages. nipresent Zapf dingbats fonts. But with Hermann Since 1977 Hermann Zapf has been an associate pro- Zapf being one of the greatest designers of our time, fessor at the Rochester Institute of Technology. In there is much more to learn about him. the postscript to this version the curator describes Being an honorary member of Dante, Hermann the influence Hermann has had on them in the past is quite familiar with TEX and friends, and he is in 30 years. At the time we write this review, Her- contact with several TEXies. -
Times and Helvetica Fonts Under Development
ΩTimes and ΩHelvetica Fonts Under Development: Step One Yannis Haralambous, John Plaice To cite this version: Yannis Haralambous, John Plaice. ΩTimes and ΩHelvetica Fonts Under Development: Step One. Tugboat, TeX Users Group, 1996, Proceedings of the 1996 Annual Meeting, 17 (2), pp.126-146. hal- 02101600 HAL Id: hal-02101600 https://hal.archives-ouvertes.fr/hal-02101600 Submitted on 25 Apr 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. ΩTimes and ΩHelvetica Fonts Under Development: Step One Yannis Haralambous Atelier Fluxus Virus, 187, rue Nationale, F-59800 Lille, France [email protected] John Plaice D´epartement d’informatique, Universit´e Laval, Ste-Foy (Qu´ebec) Canada G1K 7P4 [email protected] TheTruthIsOutThere and publishers request that their texts be typeset —ChrisCARTER, The X-Files (1993) in Times; Helvetica (especially the bold series) is often used as a titling font. Like Computer Modern, Times is a very neutral font that can be used in a Introduction wide range of documents, ranging from poetry to ΩTimes and ΩHelvetica will be public domain technical documentation.. virtual Times- and Helvetica-like fonts based upon It would surely be more fun to prepare a real PostScript fonts, which we call “Glyph Con- Bembo- or Stempel Garamond-like font for the serifs tainers”. -
Palatino Sans Palatino ™ E N the Source of the Originals
� E NEW Palatino™ Sans A supplement to Palatino nova designed by Hermann Zapf Palatino Sans The source of the originals. bCPE 2 aaaaaaaaaaabbbbbbbbbbb PALATINO SANS shows in its alphabets an interpretation of a type different from all the The letters should be designed traditional sans serif faces of monotone strokes by an artist, and not an egnineer. that are done with a ruler. Notice how the letters William Morris 1893 of Palatino Sans have elegant curved outlines, not as uniform and without sharp edges, to convey a more soft expression. The details of Palatino Sans, a fresh the stems can be seen especially in larger sizes. Typical for all the Palatino alphabets are the and multi-purpose open letter P, and the curved lower-case l, for typeface, is a new star a clear distinction within words like Illinois. Palatino Sans Ultra Light emphasizes more the in the Linotype written form, the pressure of the hand to get a more dynamic image of the lines, and to avoid the expressionless main strokes of other sans Collection. serif types. A new interpretation Palatino Sans Informal offers designs with a somewhat individual look. An innovation to of sans serif designs. enlarge the application of a Sans. With careful little effects the letters appear to look more artis Available in two tic. A novelty for a Sans to expand the versatility of a Sans serif typeface, and not looking like hundreds of other Sans around. The concept of different alphabets the Palatino Sans alphabets, carefully harmonized with the Palatino nova, allows many combi- to accompany the nations in typography, like in contrasts or in a wanted unity of a design solution. -
Portable Document Format Specifications
Portable Document Format Specifications Portable Document Format Specifications Revision History Date Version Summary of Changes 2005-04-08 1.0 Initial version 2008-06-04 2.0 Changed “Bookmarks and Page” to “Bookmarks Panel and Page” in Open Dialog Box section Version 1.0 1 Portable Document Format Specifications PORTABLE DOCUMENT FORMAT SPECIFICATIONS These specifications are for submitting documents in Portable Document Format (PDF). VERSION Use PDF Version 1.4. PDF version 1.4 is for use with Adobe Acrobat 5.0 or higher1. No additional software should be needed to read and navigate the PDF files. FONTS Embed fonts. PDF viewing software automatically substitutes a font to display text if the font used to create the text is unavailable on the reviewer’s computer. In some cases, font substitution can occur even when the fonts are available. For example, Helvetica or Times are substituted even if available on the reviewer’s computer. Font substitution can affect a document’s appearance and structure, and in some cases it can affect the information conveyed by a document. Font availability is not guaranteed. Font availability to the reviewer is ensured if all fonts are embedded. When fonts are embedded, all characters for the font should be included not just a subset of the fonts being used in the document. Limit fonts to those listed in Table 1. Font embedding does not always solve the problems that occur when a reviewer tries to paste text from a PDF document into another software format. If the font is not available on the reviewer’s computer, font substitution results even if the fonts are embedded. -
A. Introduction
Date: Oct. 30, 2011 To: Unicode Technical Committee Subject: Emoji Variation Sequences From: Peter Edberg, with input from Asmus Freytag, Ned Holbrook, Yasuo Kida, Mark Davis, Kat Momoi, Murray Sargent, and Ken Lunde (though I don’t claim that they agree with this document or that it accurately represents their input). A. Introduction As part of encoding the emoji core set for Unicode 6.0, 114 emoji from that core set were mapped to (unified with) existing characters or character sequences from Unicode 5.2 or earlier. The associated document “Unified Emoji Reference” provides more detail on the representation across various systems of these 114 emoji. When these Unicode characters result from text created as emoji, such as e-mail or text messages generated on a Japanese cell phone or via an emoji input palette, users may expect them to be displayed in other contexts using an emoji style similar to the one used when they were created. Such an emoji style usually involves color display, and may sometimes involve other stylistic differences and/or animation. However, since these Unicode characters were in Unicode prior to the emoji additions — with some dating back to Unicode 1.1 — many systems have already supported such characters using a more traditional black-and-white glyph, and users who created documents with characters displayed this way expect them to remain displayed this way (even when interchanged display). For example: For U+2764 HEAVY BLACK HEART (in the Dingbats block) the Unicode charts (and Dingbats fonts) use the first of these glyphs while the other glyphs are used by Japanese cell phones and emoji fonts: These characters may be sent as part of SMS text messages and e-mail subjects where font information is not available, and a given character may be used with both an emoji style and a non-emoji style in the same document. -
Adobe Framemaker 6.0 Character Sets (Windows)
Adobe ® FrameMaker® 6.0 FrameMaker Character Sets (Windows®) ii Contents FrameMaker Character About character sets . 3 Sets (Windows) Using key sequences . 4 Inserting the Euro Community currency symbol . 4 The Windows character sets . 5 Adobe, the Adobe logo, and FrameMaker are trademarks and Adobe is a service mark of Adobe Systems Incorporated which may be registered in certain jurisdictions. Microsoft, Windows, and Windows NT are either registered trademarks or trademarks of Microsoft Corporation in the United States and/or other countries. All other products and trademarks mentioned in this document are the property of their respective owners. 2000 Adobe Systems Incorporated. All rights reserved. 3 FrameMaker Character Sets (Windows) his manual lists the character sets used for FrameMaker documents using Western fonts, and shows T how to type each character in the set. About character sets FrameMaker products use three kinds of character sets. • Dingbat character set—for the Zapf Dingbats font • Symbol character set—for the Symbol font • Standard character set—for all other fonts These three character sets include not only what you see on the keyboard, but also many special characters such as mathematical symbols, accented letters, and a variety of dingbats such as arrows and stars. Important: If the character you want is in the Symbol or Zapf Dingbats character set and you’re not currently using that font, you must change the character font before you type the character. The Windows character set is based on the ANSI character set, and includes some additional characters not in the ANSI set. On platforms other than Windows, FrameMaker products use a character set based on Adobe PostScript instead of ANSI.